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...four men (Jim Flinsch, Eric Isen, Robert Chapman, Jim Calvert). Anxiously to the rescue come two impotent saviors, her brother Michael Twelvetrees (Dan Deitch) and former boyfriend Steven Blaine (Dan Chumley). Twelvetrees has his own problem; he surreptitiously takes photographs of himself making love to girlfriend Samantha Quentin (Maeve Kinkead). And Blaine is afraid to approach Anastasia. He keeps watch from a phone booth near her apartment, smoking cigarettes and counting the gangbusters who pass in and out of Eden's Gates. Finally he pockets his dime and acts. Hunter carefully draws that last scene to a beautiful and appropriate...

Author: By John D. Reed, | Title: Desire Is the Fire | 3/8/1968 | See Source »

...Maeve Kinkead '68 and John Allman '67 will read from their poetry at 8 tonight in the Straus Common Room. It will be the sixth in the Advocate's weekly series...

Author: NO WRITER ATTRIBUTED | Title: Poetry Reading | 5/18/1967 | See Source »

Kathryn Walker reportedly took over the role of Alice somewhere in mid-rehearsal, but her performance certainly doesn't show it. Her monologues and John Hoffman's as Dr. Thomas contain all the best moments in the play. As Martin and Lisa, David Gordon and Maeve Kinkead manage to be funny without sacrificing character and vice versa, although neither can quite transcend a scene in which they manifest their romantic bliss into song...

Author: By James Lardner, | Title: Father, Son, and Holy Ghost | 4/30/1966 | See Source »

Robert Shaw gives us Caliban, "gaping with gross howls," Maeve Kinkead '68 sees "an ocean gone alizarin," and in Gavin Borden's poem, "An impartial breeze will window/cherished ashes from green, blown leaves." They manage to sound like poets, but the sound effects and tricky adjectives are stuck in for their own sakes, and not for the poem...

Author: By William H. Smock, | Title: The Advocate | 4/20/1966 | See Source »

...Maeve Kinkead plays Helen, one of the Countess's ladies in waiting and ultimately Bertram's wife. Her voice--an oddly throaty soprano--takes some getting used to, and she occasionally slips into unattractive facial expressions. But she accomplishes her main objective--making Helen's infatuation with Bertram and her long-standing fidelity to him even after he deserts her seem like more than calculated perverseness. One may not see what she sees in her beloved, but one accepts her devotion as genuine and is tempted to condone the questionable strategems she employs to win him back...

Author: By Martin S. Levins, | Title: All's Well That Ends Well | 3/18/1966 | See Source »

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